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By Gary Shteyngart

-Absurdistan is not only a hilarious novel, yet a checklist of a specific height within the background of human folly. not anyone is extra able to facing the transition from the hell of socialism to the hell of capitalism in jap Europe than Shteyngart, the great-great grandson of 1 Nikolai Gogol and the funniest foreigner alive.-
-Aleksandar Hemon

From the seriously acclaimed, bestselling writer of The Russian Debutante-s Handbook comes the uproarious and poignant tale of 1 very fats guy and one very small country
Meet Misha Vainberg, aka Snack Daddy, a 325-pound catastrophe of a person, son of the 1,238th-richest guy in Russia, proud holder of a level in multicultural stories from unintended university, united states (don-t even ask), and patriot of no state store the good urban of recent York. bad Misha simply desires to stay within the South Bronx together with his scorching Latina female friend, yet after his gangster father murders an Oklahoma businessman in Russia, all hopes of a U.S. visa are lost.
Salvation lies within the tiny, oil-rich kingdom of Absurdistan, the place a crooked consular officer will promote Misha a Belgian passport. yet after a civil battle breaks out among competing ethnic teams and a neighborhood warlord installs hapless Misha as minister of multicultural affairs, our hero quickly reveals himself coated in oil, battling for his existence, falling in love, and attempting to work out if a standard lifestyles remains to be attainable within the twenty-first century.
With the large luck of The Russian Debutante-s Handbook, Gary Shteyngart tested himself as a valuable determine in today-s literary world--one of the main proficient and exciting writers of his generation,- in accordance to the hot York Observer. In Absurdistan, he supplies a fair funnier and wiser literary functionality. Misha Vainberg is a hero for the hot century, a glimmer of humanity in an international of dashed hopes.

From the Hardcover edition.-

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Romanticism: An Oxford Guide. Ed. Nicholas Roe. Oxford: Oxford UP, 2005. 126–36. Print. ———. ” The Oxford Handbook of Samuel Taylor Coleridge. Ed. Fredrick Burwick. Oxford: Oxford UP, 2009. 588–619. Print. Brown, Marshall. The Shape of German Romanticism. Ithaca, London: Cornell UP, 1979. Print. Critchley, Simon. Very little … Almost Nothing: Death, Philosophy, Literature. New York, London: Routledge, 1997. Print. Frank, Manfred. Einführung in die frühromantische Ästhetik: Vorlesungen. Frank­ furt am Main: Suhrkamp, 1989.

Frank 158). The material­ ized awareness of this discrepancy between endeavor and (necessary) failure is called Romantic Irony. Romantic Irony is an objective feature of self-­ reflexive literature that, while acknowledging its limits, continually strives against them (one of the key documents on irony is the Critical, or Lyceum, fragment no. 108; cf. KFSA 2: 160; cf. ). Allegory and that kind of irony (of which L2N make very short shrift indeed; cf. LA 78, Newmark), both forms of uneigentliche Rede, are necessary complements, originating from the same conditions, but with a marked difference, as Marshall Brown remarks with unsurpassed 32 Christoph Bode economy: “Allegory is irony with a purpose; irony is allegory freed of the melancholy inherent in the inability to express its meaning directly” (99).

But at the end of this critical essay one might well ask: how many, even among the best intentioned, will be deprived of the joyful chance of ever repeating Jena because of the rifts and drifts of L2N’s reading? And Daniel Hoolsema’s millennial hope, “Jena was once, and might be again if it but opens us onto the parturition of the era beyond the era of the subject” (865), might well be doomed simply because of their special brand of appropria­ tion. In a critique of LA with which one cannot be absolutely happy, Mileur asks whether L2N are not trying to reinstall philosophy in the guise of ‘the­ ory’ (cf.

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